In a digital world, without smells or textures, in which the work of art cannot be touched or experienced except through the luminous and cold halo of a screen, with its false and pale colours, without the beauty of imperfection or the trace that reveals the hand of the artist, we are born with a very different mentality. The mentality of one who has seen the eternity of time in the works of the past; of one who appreciates without qualms the immortality of tradition. The immortality of that which must transcend. 

 In the silence of the workshop, time stands still, the hours go by and, without knowing how, as if the work had a life of its own, the process advances. Slowly and inexorably. Mysteriously and seductively.

 The raw, naked stone, with the dry impact of the hammer and the cold kiss of its touch; the damp, unctuous and massive clay and the delicate gold leaf slowly composes each coat of arms, blow by blow, gesture by gesture, leaf by leaf...

The work becomes an inherently unique, special and personal project, in which the mastery of the artists who create it, gives each piece an inimitable appearance, at once timeless and ancient.

As Goya said: "Time also paints, and despite the vocation of perenniality of most of the works of art in history, it is inevitable that the passing of the years will stamp all of them".

And that stamp inevitably imprints character. A unique character. So much so that simulating the passing of time is one of the main objectives of Ars-Heráldica, as much as looking at the Art and artists of the past with the respect and admiration they deserve, delighting in the aesthetic sublimation of each brushstroke and each stroke.

 Different languages are used in bronze, marble, stone, enamel, gilding, tempera and artificial stone to create a unique and unmistakable result.